Lucy Skaer studied Fine Art at Glasgow School of Art (1993-1997). She has built an international career as a multidisciplinary artist working across film, sculpture and drawing from her studio in Glasgow. All works explore the edge-lands of image and visual language in a contemporary multi media world. She was a founder member of Henry VIII’s Wives – a Glasgow artists’ collective. Collaboration remains part of her practice: a film with Rosalind Nasashibi was shown in her recent Green Man exhibition (2018) at the
Talbot Rice Gallery, Edinburgh. An earlier collaborative film/performance, A Dance of Ownership, A Song in Hand, with dancer/choreographer Gill Clarke, commissioned by Siobhan Davies, reveals the physical, material qualities of her thinking.
An early show at Transmission Gallery, Glasgow, led to an increasing visibility for Lucy with works being selected for the Scottish pavilion at the Venice Bienniale (2003 and again in 2007), followed by a major show at the Fruitmarket Gallery, Edinburgh (2008) and Kunsthalle, Basel (2009) leading to nomination for the Turner prize (2009). Selected collections include: Aberdeen Art Gallery; Centre Georges Pompidou, Paris; Fonds National d’Art Contemporain, Paris; Glasgow Museum of Modern Art; Hunterian Gallery, University of Glasgow; Kunsthaus Zürich; Metropolitan Museum of Art, New York (Nashashibi/Skaer); Museum of Modern Art, New York; National Galleries of Scotland, Edinburgh (Nashashibi/Skaer); and Tate Britain, London.
“For these prints, I’ve shrunk some of my own drawings that originally were huge, (one even a life-size drawing of a whale, meters high!). Now they are in a compressed version, like they might appear in a book or postcard of the original artwork. I’ve combined them with some other existing printed images – ferns from a 19th century field guide, devalued bank notes from mass inflation in Germany, pictures of votive offerings found in the Seine. I’ve made prints by applying etching ink directly to the cut surface of a
meteorite, so that the texture left by the crystallising metal prints as marks. All these have been strung together to make tenuous links (some even held in pace by pictures of tenon joints), united by glue and a shared sensibility, a bit like a pictorial version of a sentence which forms only as it is being spoken.”